Kasmin will be closed in observence of Memorial Day, and will reopen on Tuesday, May 28, 2019.

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Corks by Jasper Morrison

Gessato

May 14, 2019

Renowned designer Jasper Morrison makes beautifully minimalist products that give a distinctive character to honest materials and simple shapes. Museums that have included his work in their permanent collections include MoMA, New York, Centre Pompidou, Paris, and the V&A Museum, London. The new Corks line showcases the designer’s ability to use natural materials in new ways. Made in a limited-edition, the cork family Jasper Morrison line at the Kasmin gallery in Chelsea, NYC marks the designer’s first solo gallery show in North America.

Jasper Morrison shows his first complete series of cork furniture in New York

Dezeen

May 13, 2019

An exhibition of cork furniture by Jasper Morrison has opened at the Kasmin in New York's Chelsea, the designer's first solo show in North America.

Called "Corks," the show brings together items of furniture by the London-based designer that are all realised entirely in cork.

Frieze tries to heat up NYC art market

Page Six

May 2, 2019

New York’s Frieze art fair got off to a solid start this week — with works selling at a VIP preview including a 1960 Max Ernst sculpture for $500,000 from Paul Kasmin gallery. 

Frieze New York 2019 Sales Report

Art Market Monitor

May 2, 2019

Brisk Sales And A Changing Art Market At Frieze's VIP Preview

Forbes

May 2, 2019

Frieze New York held its VIP Preview on Thursday, in a huge, bright tent on Randall's Island. Collectors were once again awed by the quality of the work, and sales were brisk in an art market that has seen subtle changes but keeps going strong.

Frieze New York Clings to Selfie Culture and Escapism for its 2019 Edition

Observer

May 2, 2019

William N. Copley’s 1975 homage to the comedian W.C. Fields at Kasmin Gallery’s booth weaves the entertainer’s quotes into the motif of the American Flag. Quips like “You can’t cheat an honest man,” “Never give a sucker an even break” and “At least it’s not Philadelphia” run over top each of the three scrolls. Copley’s double portrait of Fields and America plays out well today on all fronts, but for the jab at Philly. That city’s always worth a visit.

At the same booth, Roxy Paine’s carefully carved maquette rendering of an airline security checkpoint feels near electric, bristling with political overtones when it debuted in 2013. The viewing window alludes to a kind of theatre of illusions and outright deception. The cast, though, remains conspicuously absent, either signaling a shut down for the evening or the aftermath of a more dramatic event.

‘It Does Feel a Touch Safe’: Frieze New York Has Plenty of Pleasures and Solid Sales, but Risky Works Are Hard to Find

artnet

May 2, 2019

The entrance to Frieze New York this year is a selfie-taker’s dream: an enchanting installation of steel spheres by Yayoi Kusama, with an aisle just wide enough to pose in, spills out across the floor in front of a billboard-size painting by Chris Ofili of women in a languorous pile at the foot of a mountain.

Lee Krasner Expressionist Masterpiece Ignited By Jackson Pollock's Demise Expected To Shatter Record

Forbes

May 2, 2019

The Eye is the First Circle is an emotional tour de force. After more than 20 years in a private collection, the last large-scale Lee Krasner in private hands spans nearly 20 feet, a tightly contained, yet expansive, explosion of anguish, rage, and instinct that elucidates her life and career.

Barbican show aims to raise Lee Krasner's UK profile

The Art Newspaper

May 1, 2019

Despite having long since emerged from the shadow of her husband Jackson Pollock, Lee Krasner has not had a show in the UK since the Whitechapel Gallery's in 1965. This month's exhibition at the Barbican Art Galery is therefore overdue.

Jasper Morrison's Cork Furniture is set to go on view in New York

DesignBoom

May 1, 2019

Jasper Morrison has designed a limited edition furniture collection, which has been realized entirely in cork. Morrison’s longstanding interest in the materiel stems from its functionality as well as its inherent atmospheric qualities. Developed by the cork oak tree as a protective covering, this particular iteration of the material is reconstituted from unselected wine bottle corks—some still visible in their original shape.

Sheer Presence: Monumental Paintings by Robert Motherwell

The Brooklyn Rail

May 1, 2019

Those of us weaned on the history of contemporary American painting will recognize the drips and pours of Pollock, the brushwork of De Kooning, the colors of Rothko, the marks of Mitchell, the zips of Newman, the gestures of Kline—but what do we associate with the paintings of Robert Motherwell? Of the many words that come to mind, the most inclusive choice would be “aesthetics,” a term for beauty expropriated from the Enlightenment, but this does not exactly fit the scheme of elocutions given to the other artists.

Whitewaller New York 2019: What to See

Whitewall

April 30, 2019

Outside the fairs, be sure you save time in your schedule to visit these exhibitions, on view at New York’s top museums, galleries, and collections.

“Naama Tsabar: Dedicated” will transform Paul Kasmin into a site-specific sculptural and sonic installation. Subverting the championing of masculinity in the history of music, Tsabar’s exhibition will redefine movement, mastery, and the female body through the union of iconic relics of rock and roll and the experience of an artistic body moving through space. Melodies of Certain Damage, for instance, will connect bits of broken guitars to Transitions (works on canvas, hanging on the walls), while other works will forefront the productive tension between disruption and femininity.

“The Supreme Gift … Is Scale”: Robert Motherwell’s Monumental Paintings

Hyperallergic

April 29, 2019

In a 1965 letter to poet Frank O’Hara, painter Robert Motherwell mused that “the supreme gift, after light, is scale.” Motherwell had recently completed a seven-by-seventeen-foot painting, called “Dublin, 1916, with Black and Tan.” This vast composition of black, red, blue, and ochre is one of eight mural-sized works featured in "Sheer Presence: Monumental Paintings by Robert Motherwell," on view at Kasmin in Chelsea. It’s the first exhibition to focus exclusively on the artist’s sweeping large-scale canvases, which grew, in part, out of the Californian spaciousness of his vision — the Washington-born painter grew up on the Pacific Coast and studied philosophy at Stanford — and the AbEx movement’s postwar humanist optimism, conceived under the sign of the vast American prairie.

AO Preview – New York: Frieze New York Art Fair at Randall’s Island, May 1st – 5th, 2019

ArtObserved

April 26, 2019

With the increasingly packed schedule of the spring art season in New York, attention and anticipation once again turns to the opening of this year’s edition of Frieze New York, set to open its doors in just a few days at its annual haunt at Randall’s Island. This year, as the fair reaches its eighth edition, some adjustments and tweaks to the schedule will look to expand the fair’s offerings and appeal in an increasingly crowded circuit.

Drama on an outdoor stage

The New York Times

April 26, 2019

The artist Walton Ford is known for his richly detailed and complex paintings of animals, some familiar and some extinct, drawn with a striking, at times unsettling, take on the traditional academic style. Imagine the work of the artist-naturalist John James Audubon, but on steroids and Red Bull. 

Claude Lalanne, Whimsical (and Sought-After) Sculptor, Is Dead at 93

The New York Times

April 17, 2019

Claude Lalanne, a sculptor with a whimsical streak whose metalwork included quirky cutlery, an apple with lips, and bronze cabbages standing on chicken legs, died in Fontainebleau, France. She was 93. 

Lalanne’s works tended to be smaller and often drew on imagery from the botanical kingdom, as with elegant candelabra reminiscent of entwined branches or mirrors framed by bronze foliage. She found inspiration in the gardens at the couple’s home in Ury, south of Paris. “I never stop walking in the garden,” she told The Financial Times two years ago, “looking at what is there and using what I grow.”

She meant that in a very real way. In addition to her sculptures, Ms. Lalanne made jewelry, often using an electroplating process, in which something from her garden — a leaf, a twig — would be immersed in a bath of sulfuric acid and copper sulfate, leaving it with a delicate copper coating.

The Week in Arts: Robert Motherwell

The New York Times

April 13, 2019

You don’t look at a painting like Motherwell’s “Hoppla, wir leben!” with just your eyes. The exuberant orange expanse, one of eight paintings by the titan of abstract expressionism in “Sheer Presence: Monumental Paintings by Robert Motherwell” at Kasmin Gallery’s skylit new flagship location on 27th Street, is just under nine feet tall. You can’t see the scribbly charcoal figure, an impulsive cross between a fence and a Cyrillic letter, in the canvas’s roiling, sky-blue canton without imagining him stretching up on his tiptoes to draw it — and it’s hard to imagine that without rising to your toes yourself. As for “The Grand Inquisitor,” an explosive riff on the Belgian flag more than 14 feet long, it may require a few balletic leaps.

CLAUDE LALANNE (1924–2019)

Artforum

April 11, 2019

The French artist Claude Lalanne, known for whimsical nature-inspired sculptures, died in Fontainebleau on April 9 at the age of ninety-three. Lalanne worked as a duo with her husband, François-Xavier, from the 1960s until his death in 2008. Together, Les Lalanne, as they were known, created playful and surreal objets, often from cast bronze and in the form of flora and fauna, including sheep, apples, and rabbits. (She earned cult status when one of her works—a man with a cabbage for a head—appeared on the album cover of Serge Gainsbourg’s 1976 L’Homme à Tête de Chou.) Lalanne was a frequent collaborator with designer Yves Saint Laurent, for whom she created jewelry and a sculpture of model Veruschka’s bust for his fall 1969 collection. She continued to collaborate with the fashion industry well into this current decade, designing accessories for Dior’s spring 2017 collection.

“I am incredibly sad to lose a great friend and artist. I was always fascinated by my many, many visits to her and her family’s magical world,” Paul Kasmin said. The dealer presented an exhibition of Les Lalanne’s work earlier this year. Les Lalanne were recently the subject of a retrospective at Les Arts Decoratifs in Paris, and their work is in the collctions of the Cooper Hewitt Museum in New York and the Centre Pompidou in Paris.

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